7346 
. N4 
1914 


The  Minor  Chateada 

AND 

Manor  Houses  of  France 

OF  THE  XV  AND  XVI  CENTURY 


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Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/minorchateauxmanOOnewh 


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The  Minor  Chateaux 

AND 

Manor  Houses  of  France 

OF  THE  XV  AND  XVI  CENTURY 


By  LOUIS  C.  NEWHALL 


PUBLISH EI)  BY 

The  Architectural  Book  Publishing  Company 


31  East  12th  Street,  New  York  City 


Copyrighted  by 

PAUL  WENZEL  and  MAURICE  KRAKOW 


New  York,  July,  1914. 


Introductory 


HE  photographs  reproduced  in  the  following  pages  were  obtained 
in  France  during  a recent  European  trip,  but  with  no  thought  of 
their  eventual  publication.  In  consequence  they  do  not,  perhaps, 
represent  the  subject  as  comprehensively  as  they  might,  but  the  au- 
thor feels  he  is  justified  in  publishing  them  in  book  form  in  the 
hope  that  they  will  show,  in  a modest  way,  some  of  the  work  that  was  done  in  France 
during  the  very  interesting  period  of  the  rise  and  development  of  the  Renaissance  in 
Europe.  These  little  buildings,  in  any  extended  notice  of  their  architectural  period, 

would  group  themselves  under  the  following  periods — 


LouisXII 1495-1515 

Francis  1 1515-1545 

Henry  II 1530-1590 

Henry  IV  and  Louis  XIII 1590-1660 

Louis  XIV 1640-1710 

Louis  XV 1710-1770 

Louis  XVI 1730-1790 


But  without  going  too  much  into  detail,  and  simply  to  give  a more  or  less  rough 
outline  of  their  fundamental  characteristics,  the  following  description  has  been  prepared, 
not  as  an  historical  notice,  but  simply  as  a running  commentary  on  the  influences  that 
produced  these  buildings,  and  in  some  cases  on  the  men  who  were  directly  responsible 
for  the  change  that  came  over  the  spirit  of  France  as  well  as  that  of  Italy  and  of 
Spain  at  the  time  of  the  awakening  to  the  classical  influences  which  we  call  the 
Renaissance.  The  principal  influence  at  work  in  France  which  lead  to  the  modification 
of  its  architectural  ideas  and  the  final  abandonment  of  its  own  native  traditions  in  archi- 
tecture came  from  Italian  sources,  although  later  on,  at  the  time  of  Francis  I,  there  is 
an  unquestionable  Spanish  influence  to  be  found  throughout  France,  but  more  especially 
in  the  Southern  portion  of  the  country. 

This  early  transitional  period  has  been  called  after  Louis  XII,  a designation  quite 
sufficient  for  our  needs.  It  possesses  no  unity,  either  as  to  design  or  detail,  but  is  a 


purely  transitional  style,  having  all  the  interest  that  usually  attaches  to  such  a phe- 
nomenon— a parallel  being  found  in  the  corresponding  period  in  Spanish  architecture, 
which  produced  such  brilliantly  interesting  work  in  Spain.  In  France,  Gothic  and  Renais- 
sance— two  antagonistic  and  unrelated  styles — were  thrown  into  the  melting  pot  together, 
resulting  in  this  fusion  called  the  “Style  of  Louis  XII.” 

The  native  French  style  was  the  XV  Century  Flamboyant  Gothic,  as  exampled 
in  St.  Maclou;  Palais  dejustice,  Rouen;  Chateaux  Josselin,  Brittany;  Hotel  Cluny, 
Paris,  and  the  many  timber  houses  of  Lisieux.  Its  characteristics  are — soaring  vertical 
lines,  pointed  roofs,  chimneys,  gables,  dormers,  turrets,  etc.,  etc.,  arranged  with  a most 
studied  intricacy  and  confusion  of  motive,  and  great  picturesqueness  of  outline,  and  with 
lacelike  stone  detail  in  its  window  heads.  Roofs,  high  and  steep,  have  always  charac- 
terized French  work  of  most  styles,  their  charm  was  diversified  and  enhanced  by  orna- 
mental chimneys,  gables,  dormers,  turrets,  crooked  and  highly  ornamented  ridges  and 
finials.  The  window  openings  and  cornices,  were  elaborately  decorated  with  vegetable 
and  floral  motives  of  great  richness,  which  further  accentuated  the  lines  of  gables  and 
columns.  Arches  and  openings  became  circular  or  more  frequently  eliptical,  while- 
lintels  were  curved,  deeply  recessed  and  moulded,  with  ornamental  and  lacelike  cusping 
sheltered  under  hood  moulds.  Coupled  windows  with  transomed  openings  were  gen- 
erally used,  and  although  oriels  were  frequent,  bay  windows  are  seldom  found  at  this 
time.  Mouldings  and  ornaments  were  naturalistic  and  Gothic,  deeply  undercut.  In 
timber  construction  the  same  character  was  present,  and  in  addition,  wooden  corbels, 
brackets  and  verge  boards  gave  further  opportunity  for  ornamentation. 

The  imported  style  was  brought  from  the  North  of  Italy,  where  the  Certosa 
of  Pavia,  S.  Maria  Miracoli  at  Brescia;  the  Loggia  at  Verona,  and  the  Cathedral  of 
Como,  are  representatives  of  the  Italian  infusion.  This  Northern  Italian  Renaissance 
had  been  produced  under  strong  Gothic  influence  and  tradition;  however,  it  was  readily 
adapted  to  the  French  work.  Its  detail  was  not  of  the  Florentine  School  with  its 
intense  and  severely  classic  feeling.  On  the  contrary  the  chief  characteristics  were 
simplicity  in  main  design  with  effects  produced  by  horizontal  string  courses  and  small 
pilasters,  all  very  slight  in  projection  and  small  in  size.  Slender  baluster-like  columns 
were  used  to  divide  window  openings,  forming  groups,  and  plain  wall  surfaces  were 
relieved  by  medallions,  and  delicate  pilasters,  paneled  in  circles  and  lozenges,  with 


garlands,  swags  and  pendant  knots  of  flowers,  naked  children,  birds,  mythical  beasts, 
etc.,  etc., — all  carved  in  very  slight  relief,  and  often  executed  with  flat  color  deco- 
ration. 

In  France,  the  resulting  so-called  “Style  of  Louis  XII”  is  marked  generally  by 
the  influence  of  the  Italian  detail  only;  for  the  builders  remained  French,  while  in  many 
instances  Italian  decorators  were  employed  on  the  sculptured  portions  of  the  buildings. 
Gothic  detail  first  gave  way  to  the  influence  and  example  of  Italian  workmen,  and 
second  to  the  new  skill  thus  acquired  by  the  native  Frenchmen  in  working  along  the 
same  lines. 

In  plan  the  chateaux  of  this  period  show  clearly  the  attempt  that  was  made  to 
render  them  less  castles  and  more  dwelling  places,  with  better  accommodations,  com- 
forts and  conveniences,  and  increased  light  and  air.  Apartments  multiplied,  arched 
galleries,  balconies,  terraces,  etc.,  for  taking  the  air  and  enjoying  the  prospect  were 
provided,  and  windows  in  the  external  walls  were  increased  both  in  number  and  area. 
The  ground  plan  of  buildings  during  this  period  was  not  affected  by  the  introduction  of 
this  Italian  influence,  and  it  was  not  until  later  that  effort  was  made  to  introduce  Ital- 
ian planning  along  with  the  changes  in  wall  treatment,  etc.  So  we  find  most  of  these 
plans  still  based  on  irregular  and  oval  outlines — as  at  Fontainbleau  and  St.  Germain, 
and  in  the  Castle  of  Gaillon.  The  great  staircase  followed  the  fashion  set  at  the  Louvre, 
spiral  in  plan,  and  usually — almost  if  not  entirely — detached  from  the  main  walls,  as  at 
Blois,  and  Gaillon. 

Changes  also  occurred  in  the  materials  employed  in  construction;  brickwork  came 
back  into  use,  after  having  been  displaced  by  stone  for  centuries,  except  in  certain  locali- 
ties where  stone  was  not  to  be  procured.  Brick  appeared  with  stone  trimmings  and  in 
pattern  work,  and  was  contrasted  with  stone  or  other  materials  which  were  used  to 
give  life  and  decoration  to  wall  surfaces.  Terra-cotta  and  majolica  were  also  intro- 
duced, while  brilliant  color  decoration,  in  painting  and  gilding  were  commonly  ap- 
plied during  this  period.  Timber  was  the  common  framing  material  used  for  the 
smaller  houses — notably  in  Lisieux,  Cravant,  Gallarden,  and  Joigny — the  spaces  of 
the  frame  being  filled  with  plaster,  brick,  boards,  and  other  materials. 

The  foreign  influences  were  of  course  continually  at  work  upon  the  minds  of 
French  designers,  who,  being  thus  brought  in  direct  contact  with  the  imported  Italian 


CHATEAU  CONINAIS  AT  DINAN  BRITTANY  — GATEWAY 

Photo  by  Edmund  B.  Gilchrist 


ANGERS  — THE  CHATEAU  OF  THE  KING  OF  POLAND 


CHAUZE-SUR-  LOIRE  — THE  CHATEAUX  DES  REAUX 


2 


LA  CELLE  - LES  - BORDES  — A MANOR  HOUSE 


CHATELDON  (PUY  - DE  - DOME)  -A  HOUSE  OF  THE  16  TH  CENTURA 


3 


CISAI  - SAINT  - AUBIN  — THE  CHATEAU 

Photo  by  Geo.  F.  Howe 


CHATEAU  DU  PIN  — CALVADOS  — XVII  CENTURY 

Photo  by  Geo.  F.  Howe 


4 


HOUSE 


LADAPEYRE  — THE  CHATEAU  DE  CHASSAGNE 


BAZOCHES  - DU  - MORVAN  — THE  CHATEAU  ENTRANCE  — VIE  AX' 


6 


CHALONS  - SUR  MARNE 


7 


THE  CHATEAU  CHAUMONT—  SUR  LOIRE 
THE  STABLES— THE  RIDING  RINK 


COUTANCES  — A HOUSE  OF  THE  I5TH  CENTURY  COTE  D ' O R — C H A T E A U N E U F — N O R T H VIEW 

Photo  by  Mr.  Harry  B.  Russell 


COTE  D'OR- CHATEAU  DE  VILLOTTE  — ST.  SEINE 

Photo  by  Mr.  Harry  B.  Russell 


COTE  D’OR  — THE  CHATEAU  DE  LACOUR  D'ARCENAY 

Photo  by  Mr.  Harry  B.  Russell 


10 


COTE  D’OR  — THE  CHATEAU  D’ESSAROIS 

Photo  by  Air.  Harry  B.  Russell 


COTE  D’OR  — CHATEAU  DE  MAGNY-LES-AUBIGNY 

Photo  by  Mr.  Harry  B.  Russell 


COTE  D'OR  — CHATEAU  DE  SAINTE-SEINE  VINGEANNE 

Photo  by  Mr.  Harry  B.  Russell 


COTE  D’OR  — CHATEAU  DE  BUSSY  — RABUT1N 

Photo  by  Mr.  Harry  11.  Russell 


12 


COTE  D’OR  — CHATEAU  DE  LUX 

Photo  by  Mr.  Harry  B.  Russell 


COTE  D’OR  — CHATEAU  DE  BRESSEY-SUR-TILE 

Photo  by  Mr.  Harry  B.  Russell 


13 


COTE  D'OR- CHATEAU  D ECHIGEY 

Photo  by  Mr.  Harry  B.  Russell 


COTE  D OR  — CHATEAU  DE  LA  ROCHETRE 

Photo  by  Mr.  Harry  B.  Russell 


14 


COTE  D'OR-THE  CHATEAU  DE  BESSEY  LES  CITEAUX 

Photo  by  Mr.  Harry  15.  Russell 


COURTOUNE-LA-VILLE  — THE  CHATEAU  DU  BESNERAY 


Photo 


Mr.  Harrv  i>.  Rus 


15 


DIJON  — THE  HE 

Photo  by  Mr.  Harry  B. 


N N ER  Y 

Russell 


16 


CHATEAU  D'HERBAULT  — THE  TOWERS 


FONTAINE-HENR1—  CHATEAU  GACE  — A HOUSE  OF  THE  16TH  CENTURA 


CHATEAU  DES  GROTTEAUX-SOUTH  VIEW 


FALAISE  — THE  CHATEAU  D'AUBIGNY 


20 


Photo  by  Harold  Field  Kellog; 


CHATEAU  DE  LUDE  — THE  DINING  ROOM 


CHATEAU  DE  LUDE  THE  LIBRARY 


23 


THE  CHATEAU  DE  LUDE  — FIREPLACE  LE  GRAND  ANDELY  — FIREPLACE  IN  THE 

IN  THE  DINING  ROOM  HOTEL  DU  GRAND  CERF  (16TH  CENTURY) 


CHATEAU  DE  KERIOLET  — THE  DRAWING  ROOM 


CHATEAU  DE  JOSSELIN  — THE  DINING  ROOM 


25 


L ASSAY  — THE  CHATEAU  DU  MOULIN 


MEILLANT  — THE  CHATEAU 


26 


MON  FREE  — THE  CHATEAU  D'O 


MONTREE  — THE  CHATEAU  D’O 


28 


MONTREE— CHATEAU  D'O  M O N T R E E — C H A T E A U DC 

16TH  CENTURY  — THE  TOWERS  16TH  CENTURY  — DETAIL 


MIRVILLE  — (SEINE-1NFERIEURE)  THE  CHATEAU 


32 


V^AV 


THE  CHATEAU  DE  ME1LLANT  — EAST  VIEW 


LE  PIN  (CALVADES)  THE  CHATEAU  DU  PIN 


33 


PONTARION  (CREUSE)  THE  CHATEAU 


RAMROUILI.ET  — THE  HERMITAGE  IN  THE  PARK 


34 


ROLLEVILLE  (SEINE-INFERIEURE)  — MANOR  HOUSE 


PETIT-COURONNE  — THE  HOUSE  OF  PIERRE  CORNEILLE 


35 


LA  HOUBLONNIERE  — THE  CHATEAU— 16TH  CENTURY 


MESNIL-GUILLAUME  — THE  CHATEAU 


36 


SEINE  INFERIEURE  — MANOR  HOUSE  OF  LEPUY  — OLD  HOUSE  IN  THE  RUE  DU 

THE  16TH  CENTURY  PRAT  DU  LOUP 


SELLES-SUR-CHER  — THE  CHATEAU 


SELLES-SUR-CHER  — ENTRANCE  TO  CHATEAU 


38 


SAINT-PIERRE  - DE-CO  RMEILLES  — AN  OLD 
NORMAN  FARM  HOUSE 


SEINE  1NFERIEURE  — A MANOR  HOUSE  OF  THE 
1 6 T H CENTURY 


39 


FONTAINE-HENRY  — THE  CHATEAU— I6TH  CENTURY 


TOURS  — THE  CLOISTER  DE  LA  PSALETTE 
( 1 5 T H AND  1 6 T H CENTURY) 


40 


TOURS  — THE  CLOISTER  DE  LA  TOURS  — THE  CLOISTER  DE  LA 

PSALLETTE  PSALLETTE— STAIRCASE— DETAIL 


CHATEAU  DE  VILLESARIN  — I6TH  CENTURY 
SOUTH  VIEW 


HUISSEAU-SUR-COSSON  — T H E CHATEAU  DES  GROT- 
TEAUX  — BUILT'  IN  1620  BY  GUILLAUME  RIBIER 


42 


TOURS  — OLD  HOUSE  CALLED  “TRISTAN  TOURS  — THE  HOUSE  OF  “TRISTAN 

L'HERMITE”  — ENTRANCE  VIEW  L ’ H E R M I T E ’ ’ — T H E COURT 


CHATEAU  DE  LA  RAVINIERE 


RANDAN  — PUY-DE-DOME  — THE  CHATEAU 


44 


MARTINVAST  — THE  CHATEAU 

Photo  by  Harold  Field  Kellogg,  Jr. 


NOTRE-DAME-DE-COURSON— THE  CHATEAU  DE  BELLEAU 

Photo  by  Harold  Field  Kellogg,  Jr. 


45 


MEILLANT  — THE  CHATEAU 


SAINTE-MAURICE-D'ETELAN  THE  CHATEAU 
I 5 T H CENTURY 


46 


LANGEAIS  — A DOORWAY  CHATEAU  THIERRY  — THE  RENAIS- 

SANCE STAIRCASE 


THE  CHATEAU  DE  SAINT  - GERMAIN-DE-LIVET 
I 6 T H CENTURY 


SAINT-MARTIN-DU-BEC  — THE  CHATEAU  DU  BEC 


4S 


TOURS  — INTERIOR  COURT  IN  A HOUSE  OF  THE  I5TH 

CENTURY 


TROYES  — THE  ABBEY  AT  SAINT-MAR  TIN-ES-AIRES 

COURT  VIEW 


49 


TROISSEREUX  (OISE)  — THE  CHATEAU 


TREMEL  (COTES-DU-NORD)—  CHATEAU  DE  K E R M E R Z I T 


50 


CHATEAU  DE  VILLEPREAUX  (CREUSE) 


L E THEIL  — THE  CHATEAU 

51 


VERNON  — CHATEAU  DE  BIZY  — SOUTH  VIEW 


VALENCAY  (INDRE)—  THE  CHATEAU  — VIEW  FROM 

THE  GARDEN 


* 


52 


THEVRAY  — THE  TOWER  (1489)  SAINT-GERMAIN-DE-LIVET  THE 

CHATEAU  — I6TH  CENTURY  — SOUTH  SIDE 


MENON  (NIEVRE)— THE  CHATEAU 


CHATEAU  DE  MAINTENON 


55 


GAILLARD 


BERNAY  — CITY  HALL—  I6TH  CENTURY 


57 


PERIGUEUX  — M AISON  DU  PONT  VIEUX 


SAINTE-FEYRE  (CREUSE)— CHATEAU  DU  TERREL 


59 


60 


GETTY  CENTER  LIBRARY 


3 3125  00772  7676 


